Download - Johann Pachelbel
Johann Pachelbel
By: Patricia Waleske
Biography
Born in Nuremberg, Germany
Exact Day of Birth Unknown
Baptized Sept. 1, 1653
Schooling
Attended High School at St. LorenzStudied General
Education
Enrolled at the University in Altdorf
Schooling Continued
Attended For Only One Year
Received Scholarship to Gymnasium Poeticum in Regensburg
Teachers Early Instructors
Heinrich SchwemmerGeorge Kaspar Wecker
○ Would teach Pachelbel to play the organ
While at RegensburgKaspar Prentz
Employment St. Lorenz Church in 1669
St. Stephens Cathedral in 1673
Court Organist in 1677
Predigerkirche in 1678
Employment continued Organist in
Stuttgart in 1690
Gotha Town Organist in 1692
St. Sebaldus Church in 1694
Family Married in 1681
Barbara GablerOne Son
Wife and Son Die 1683
Family Continued
•Married in 1684• Judith Drommer
•7 Children• 2 Sons becomer
composers
Friends While in Eisenach
Becomes Friends with Johann Ambrosius Bach○ Father of Johann Sebastian Bach○ Pachelbel tutors Johann Christoph Bach
It is said Pachelbel lived with Johann Christian Bach
Pachelbel’s DeathMarch 3 r d , 1706
Music By Pachelbel Chorales
Half of Pachelbel’s works
FuguesMore than 100
Chaconnes and Variations6
Toccatas20
Fantasias6
PreludesSeveral similar to
the Toccatas Canon
1
History of Canon in D and Gigue What is a Canon?
A canon is a technique that employs a melody with one or more imitations of the melody played after a given time
What is Ground Bass?Ground bass is a type of variation that forms
the bassline of the piece and is repeated as an underlying variation
What is a Gigue?A baroque dance, usually lively, that
originated from the British jig
Canon in D Written for 3 violins and a basso
continuo Ground bass is 8 notes that repeat
throughout the piece
The Gigue Baroque Dance
Lively
Originated from British Jig
Written in 3/8 metre
Danced by Nobility
Musikalische Erogtzung No. 6
One of 6 Chamber Suites
Referred to as Partita
Means Musical Delight
Written for 2 Scordatura and Basso Continuo
Basso Continuo• Form of accompaniment
•Played by a keyboard instrument
Listening Guide for Canon in D and Gigue i. 0:00-0:20- the canon begins with just the harpsichord (the ground
bass) and the plucking of the strings of the violins. The ground bass is 8 notes repeated throughout the piece. This sets the rhythm and beat of the song.
ii. 0:20-1:00- the melody begins at this point with the strings as the harpsichord continues with the same rhythm. The plucking of strings can still be heard as well.
iii. 1:00-1:15- one violin begins what is the familiar melody of the canon. The melody is soft as this point.
iv. 1:15-1:41- a second violin begins to play in harmony with the first. It’s melody slightly different than the first.
v.1:41-2:07- a third violin is added. The melody seems to crescendo. While the other 2 violins begin to play together, the third plays a different tune in harmony with the others. The technique of the layering of the 3 violins playing variations of the same melody is what makes this piece a canon.
The Canon continued vi. 2:07-3:00- all 3 violins begin to play together the same
melody. The tempo is quicker, the music more lively. vii. 3:00-3:40- the strings have quit playing and only the
plucking of strings and the harpsichord can be heard. The tone is quiet.
viii. 3:40-3:53 the original violin begins again playing the same melody.
ix. 3:53-4:40 the other violins join again, but the tempo has slowed. The notes seem to be higher.
x.4:40-5:30 the tempo has definitely changed here. The violins play more hauntingly. The melody is played in an even higher tone.
xi. 5:30-6:16 the plucking of the strings has ended and all the instruments take up the same melody. The tempo has slowed. The song ends with all instruments fading on one note.
The Gigue xii. 0:00-0:24- the melody starts off just as one
would expect from a gigue lively and light. The strings are keeping the tempo upbeat.
xiii. 0:26-0:47-first one violin begins, then one more in a higher note, then the third even higher. All playing together
vx. 0:47-1:09- the melody repeats itself as before each violin joining the melody one at a time.
vxi. 1:09-1:37- Again the melody is repeated. The tempo is still very lively. The violins playing in harmony then culminating to end on a single note.
http://www.youtube.com/watch?v=HgSWzQtiFwM&feature=player_embedded
Listening Guide to Musikalische Ergotzung No. 6 i. 0:00-0:03- Just the harpsichord can be heard at the
opening of the song. ii. 0:03-0:30- 2 violin joins the harpsichord each playing
different melody’s but in harmony with one another. One string is playing long low tones while the other is following along with the melody of the harpsichord.
iii. 0:30-1:16- the violins continue to play in harmony as the harpsichord keeps the beat and tempo of the music slow and haunting.
iv.1:16-1:34- the tempo picks ups, all instruments are playing the same melody. It appears to be repeated 3 times before changing.
Musikalische Ergotzung No. 6 continued v. 1:34-2:05-there is a slight variation to the melody and the tone
seems to be in lower notes. The cello or perhaps a similar string instrument can be heard more clearly playing the melody at the lower tone.
vi. 2:05- 2:23- the melody has changed again. This is more upbeat. The harpsichord is stilling keeping the bass and rhythm of the music. Just the higher string instruments can be heard.
vii. 2:23-2:56- The melody continues the same as before; the harpsichord keeping the rhythm, the bass underlying the violins higher melody.
viii. 2:56-3:15- the tempo and melody have changed. The strings are playing in harmony with the harpsichord.
ix. 3:15-4:09- another melody change this time more lively in rhythm. The harpsichord is clearly holding the beat while the strings play.
Musikalische Ergotzung No. 6 continued x. 4:09-5:07- The harpsichord and a violin are carrying the melody while a
second violin is playing quickly and lively in harmony to the harpsichord and first violin. The tempo in this section is faster than in previous sections.
xi. 5:07-5:59- the tempo slows down with this section. The harpsichord is again keeping the beat of the melody while the strings play in harmony to one another.
xii. 5:59-6:30- The rhythm picks up but just for a moment, the violins pick up the tempo and change the tune.
xiii. 6:30-6:38- just the strings are playing, high and light, together. The tune is lively, the tempo quick.
xiv. 6:38-7:10- the harpsichord and other strings have joined the melody. xv. 7:10-7:32- the same melody and tempo are continued, repeated as before.
Violins begin the melody with the harpsichord and other strings joining to keep the bass of the piece.
xvi. 7:32-8:10- the melody is still the same, the strings seem to be playing quicker.
8:10-9:06- the violins change tone here; they become higher and have changed the melody slightly. The harpsichord and lower strings are still keeping the same beat but the violins seem to be playing longer notes. The tune and tempo are still quick. The piece ends with all instruments on a single note.
Work CitedWAGSTAFF, JOHN, and STEVEN ZOHN. "Pachelbel Outside The
Canon." Notes 66.1 (2009): 164-166. Academic Search Premier. Web. 7 Oct. 2012.
All Music by Rovi. (2012). Johann Pachelbel. Retrieved from http://www.allmusic.com/artist/johann-pachelbel-mn0000635037
Here of a Sunday Morning Radio. (2012). Johann Pachelbel.
Retrieved fromhttp://www.hoasm.org/VIB/Pachelbel.html
Wikipedia the Free Encyclopedia. (2012). Johann Pachelbel.
Retrieved fromhttp://en.wikipedia.org/wiki/Johann_Pachelbel